It was honestly, it was wonderful. I mean, I feel like, you know, writing a textbook, in case anybody didn't know, this isn't the most fun thing to do. Because it's a textbook, right? So what I think one of the other reasons, we all decided we really wanted to give each other the room and space, to focus on areas that were really interesting to us, personally, is we wanted, we wanted there to be a personal feel, to the book. And throughout the book, all four of us found opportunities to speak to our own experience. So in some ways, I what I hope is that when people read it, and they read each of the chapters, they will feel that they will feel there's kind of a personal element to this, that we can talk about the stuff you got to know and the research and, but we can also anchor it in some personal experience. So for me, that was super easy with middle adulthood. It's no accident that my middle adult case was a middle aged, middle class white woman with a single son in college. I mean, heck, I'm kind of blatant parallels there, I did give her a little, a little more of an interesting dynamic with being separated from her husband and her mom having to come back and live with her because she'd had an injury. So there were some other layers to it that that weren't me, of course. But it really did help me, I think, to both examine my own experience, but also to really think about it in context. I think for the older adult chapter that I wrote with silvitra, those two chapters, those were actually my favorite chapters to work on. I didn't expect that because I really enjoyed the middle adult chapters. And I'm not quite in that phase of life myself. But like you said, I think both the Vita and I were exactly the same age, we are two months apart in age. And our parents are almost exactly the same age. And we each have one kid who's in college. So we had a lot of pair parallel experiences that we were able to really bring to the table when we wrote the older adulthood chapters. For me working on those chapters that helped uncover for me some of my biases, I think, in how we view older people in western industrialized societies. How a lot of developmental theories have really included this phase of life almost as an afterthought, kind of, like we talked about, even with middle adulthood and how, when you do read theories of older adulthood, they often are characterized by things like, decline. You know, I mean, even looking at the way Erickson focuses on it, integrity versus despair. It's the way Erickson characterizes that phase of older adulthood. It's hard to tell you what, so but so I'm so glad you said that because that's exactly what Savita and I talked about, were like, how do we talk about this phase of development as just another phase of development that just like you've said, what you're seeing in your own life and middle adulthood, you're still moving, you're still trucking, you're still growing, you're still learning. And we know this also happens in older adulthood. So that was really important. There were two theories that I thought were really kind of bubbled up for me with this. Do you mind if I talk about each of them? Really? Please do? Okay, the first one is the theory of human potential. And it's from a theorist named Jean Cohen, and Cohen's theory. He starts with people in their 30s and then goes to 70s 80s and beyond. So first of all, I loved that that he didn't even do what Erickson did. So I'm going to start at birth and go to death. He said, I'm really going to focus on the place that you mentioned, that historically sometimes feels like the, the flat zone for theories. But what he suggested is that people in old age and people, even people in very old age, often experience sort of this newfound creativity. Now, it's sort of predicated on the idea that somebody is fortunate enough to have the means of survival. So there are assumptions we make about this. So of course, assuming someone is sheltered, and said, and reasonably, in good health, they actually can and do make space for being contributed for being creative and contributing to the world in new ways. He did this really cool study, where he, so he had this hypothesis that people who do folk art tend to be older. So whether they're folk musicians, or they're, you know, go into the, the weekend, craft fair, and you know, doing art, whatever, they tend to be older. So in his study, he engaged groups of older adults. He had a control group, and he had a test group and his test group, they were involved in like, active and participatory art classes, and shows and lectures, and they created their own art. And they had a way to sort of share it with the world. And the control group, they did some different activities with them, but nothing art related and nothing quite so engaged in interaction interactive. And he found that even after like a year or two years, when they looked at measures of physical health, emotional health and social engagement, the people who had been actively engaged in the art activities, all of those metrics were higher for them. And he talks about people like, you know, Aldous Huxley, who didn't write roots until he was in his 60s, you know, and Twyla Tharp, who was the, you know, modern dance who did choreography into her 70s and 80s. And he said that there's a generative quality to that work so that when older adults are creative, active, engaged, and when people are interested in what they're doing, and want to learn from them, then all of those other factors tend to tick up. There's less isolation, there's less depression, and even fewer health issues, because the ideas when they're socially active and engaged, that often that involves some kind of movement. So I love Cohen's theory of human potential. And I love even what it's called, because it's focused on middle adults and older adults specifically, and that when there is this recognition of potential, and a tapping into that potential, it can have restorative kinds of outcomes.